street oy Ory Bons UBLstreet logos Tristan Manco Graffiti artis constantly changing. Fresh coats of paint and newly pasted posters appear overnight incites across the world ew a and ne tacts dsplae fad and metamorphosis Frm S es, nae ideas of renewal ckholm to Tokyo, Barcelona to Los Angeles, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daly creations. curren graffiti art fs more reflective ofthe world around it, Using new materials and techniques, its innovators are creating an original language ‘forms and images Infused with contemporary araphic design and ‘lustraton. Fluent in branding and graphic imagery, they have been replacing tags wth more personal logos and shifting from typographic to Ieonographic forms of communication. Subvertd signs, spontanaous drawings, powerful symbols and curious characters represent an unstoppable worldwide outdoor galery of fee at. Street Logos Is an Internationa celebration of these developments in 2ist-century oral, an essential sourcebook fr all art and desion professionals and a delight to everyone excite by the vitality ofthe street ‘With 465 illustrations, 463 in colour Front 2d, Stockholm. Photo Stelnar Daresen Sol Crew and thers, Rotterdam, Photo Space 3CONTENTS Watch This Space 6 Signs 10 Iconographics 16 Logos 42 Urban Characters 68 Free-Forms 110 Looking Further & Websites 127 Picture Credits 128 Acknowledgments a B SU ie y N ¢ y i LV o 2el Gin @ Gar Ls 3 y Se 3 retry nia, 10.2-3 Tap re Sickle, ‘Besos Mey noe, Hear Ow are, a ther ty Beare, og al erg, rit Git Tanplby Sekt Bite Ha send Conboy Stor 8 ‘Mure Geom esa Zire, Erde oer nary Fa 4:5 Leo Cnwrural ty Cha, Ze ey ade Pe ane tes showing a and ates sot, Salons Graft artis constant evolving Each day, fees ets of paint and newly pasted posers 2ppear ‘might incite arose th world. Ina proces of perpetual reusl pew mars and artnerks are Inyred ver the fading ghosts of raft past and ‘he decaying surfaces of the cit Ephemeral by ature raf isan art erm that celebrates change and feds on neweas. AS artists leash thelr craton, wal spaces become breeding sounds fr new for techniues ad tactics, New sraphic and typosranic tras emerge a eas rosspolinateThis book isatribue tothe new ‘seneration of nnoators who, ovr the pat few years have been eclionizing graft and ox woeptions oft Today's raft landicape i fast econ recognizable from that of pov cage wth ‘theemergence of an‘aythra goes approach Artists have been creating more personal tracemark sans and symbols sometines pated at mele sis Spontaneous doodles have on rt as sketchbooks ar pad for sre corrars, From the crt aoe of S30 Paulo’ pares capper tothe ste afl evltins a Melbourne the ventveess and versity bewlderngas atts and spectators ar drawn to gait art asthe ultimate reef rman. The anf this book lta eacument ‘dey graft gene poo th Hs visual language of san leon loos and characters. “ays nw te of rail challenge ument efitins. Gralla personal maremaling can eseribe anything from a poste oF painting ta plate toy ued toa wal nts naronest intercetation, raters tothe hiphop att ‘ting that cated in New York inte ate 2960s. Since satis many asecated with tags and Pieces inthis lase’ sy, elhar pases hae been Coins for art produced onthe street "eet artis ater hat was fst wed ae 19008 deserie ary atin the urban eminent ro nthe predominant hip-hop tye ras to prominence in New Yor’ SaHe though the work of nts ie Keith Haring, Kenny Sehart and Richard omateton ain Pars trough arts ke Bek and Nemo, Seemingly useful caterall names ie eo tree assciatons lave some arts feelng easy ith tbe lade ‘Although somethin tha asia has been stuck in grove ace rough some recent atti magazines or ais to local tal fame ras iinstarty obvious jst how much has changes sine the 1980, Ina revolt against generic styles, WATCH THIS SPACE Aarts are breaking the unwitn graft ules to create new graphic fr ane images cutie 3-0 and wi sty letering. Artists hae been ooking far and wide for new ideas, draw inspiration from ‘shige vavety of enue, ncaing bo tenieat forme, calgrapiy etic pats, retro fssions nan arte, Art re ving ew material to reece surrounding urban environmen such as posters, stickers, acres caramics ang collages, 2 val as computers toshare art wouah th Inte. Thay have bean ceerizing and customizing new city aces tke advertising bilbcards or abandoned ‘vehicles a well as imeting igeriaus interventions, tactics subvert cts signage systems. As former wational afi artit esa to use nw teclqus and pant new way itbecomes ‘mor fit to stings etweestret a and “wat Post ati and neo-atfi are more recent pases used to describe sect art anda afl scene nf between estblied eas and raw rections. However ese abstract terms are araly wea ts terpiag to nent a eae "randats’ as tes use bythe arts Banksy to scribe his 2003 een i Londo, capturing ‘te mood of apathy towards corporate brancig. Artis not where you expect to find it Patrick Mimran nese, cchws rom tp Loney Xue Neg, Tost, 3 Manan 00, aclnateould lobe wed to dsb galt artis who Ina generation of ronda. collective works to. ty wie grat sndestrorinary images, reating a viel vocabulary = inated with eantempecary abi design an ilatraton but fe fromm aris contri. Fert in branding and araphiciconosaohy, svat arstshave bon replacing tgs with more pesonal sans Through atts ke Baredona’s Lana with his raemark hand’ he concep ‘eres the worl these simple oo-ags ins lated UFOs, lea rvlaps in Barciena as sheep coat hangers and elose-creut televisions eran few, Some signs hve st ‘sidan meaning but thers have mor odd leetion. Tes sigs join econ of ether biol graft bir sath the CHD vial othe ve hae These agape or stet agp work on both ansen ane modern principe, coring to us without word, Iie tho geoayhie als carved Into tho lanescape byte pre-Inca peop of Pru or the ieanonamebile phone. Te pctoaraphicsyba has bana the art of vl communication throughout istry and ia todays cororate tre Fetes its ultimate for inte ottizatin the oes of core \Wehave love-hate elton ith hen some we ric, others ily. The word eg’ may have rare very mh alive lakes pon as pbc brad or atLoes yng nthe face ofthe retarous 2 whole-urban mythology of symbols, dram with faked ‘An image speaks a universal language, to any person of any age or ethnicity Aboveee could easier ter meaning athe stories ‘hey Hlustrate,Oten dspaye alongside posers ie iconographic appeaac, simple rap ines and The inal oid eca! grafft atts dn cept the way arts ke Kt Haring ad Jean Michel Basquiat wee abled raft artista they levy came rom a Herent wold Iwas fel tat ning nt rath atl, the art etabishment wa but fice to ackrowidse the graft ature Overtime the corbin of and onesies has een eco aired but he uneasy relationship ofthe raft world withthe art estabibmet and with thre actertsers opting the af tye stl ests These mrs are hamstrclly oppsed but ineoraby awn tage Galleres,masszines and shops are conto spaces, Graft arts itistoocompaling tbe lnored. An exibitlen o compilation ike this beck ha to find ways of resenting something that cannot be bovaht or sold particular atosere oa lnied amount of ne and than kappa ‘Ahauph asserbing ts book hasbeen an Ail tepek of general visual anuage— rafts acrstv fore that rfuzes tobe pnd bo, New laces are created everyday and an neelopate undertaking would be out of date beforethe rk was ry. Graft cannot be de into Spl categories 20 chapters tht follow only a uid ta joing he dts etwoan se Graft in longer rot; he unexpected. sense of fthecity space keep the viewer pestve ar open to new experiences. In continual metamorshos watching the cy walls some c today'street art and graft canbe decid, but hat utes the whole cee fthe reclaiming o be space for publi at. Graft arte made the production of raft andso without these pressure is neo tay’ oe fertle at forms. Totlay's new graffiti movement is more focused on the world surrounding it and more alive than classical graffiti Olivier StakCes all ovr he world are eer with sins ar shop rants a bills to tae line and os raking. Ae wl 2¢ formate a commercial ‘ns, ast tenon have aerate ss te: (als unsnctined art and sages tat share ‘the same space and sora othe same audience as offical san. ‘Graft ten torows rom the aesthetics oF ‘onae ane argon of atvertsg capa, “The dropahadaved eters of hop ors, th we semaclaretrng ye of ae ha pte irs nde ligt are jt some of hey sins hat ae vtusnea aft eter, compasitnsané ates. Reclining the ity space soften sen by raft ass ether min miso eter asa ection asin conser averting oF 3 ese make a ersanal mara her environment. he days of ‘dase raft arts pated ais and als but turret the cere for new ty spaces has reeled ‘ham toward rage. ‘Oneness hae spl One note place {oak marks, sue asthe ect ike outbeeas on readsigs However ane oft’ ew rt rds have become attracted the mdm of lan thal, The faeain for arts is wha is yon Tay represent ede auto, corsoer culture ana the way ares are reulated rst have sen he potertal to conus, amuse and conan by subverting caret ns rb oly trea ther ngs, With desktop pulsing or 2 Single po of ar, the opportunity create a wine ‘ate ow sons othe citys tenotintyaessbe opnite Bboarer yom Trans, Pars "sign Life! the peje fan recon arts Son who jot at Net that asta ‘este som he Boston area nad eta bolt toes led in thee ealized that wit ame los, ere pinta te abt he cold [ais own siete te pols Src 1995, hehas had futsal aver fe Rone of ters. Thugh he reer ramavedo blocked any eting sis om ere veal erred In Pris Prangis ore changed Msgr to rea Protests potest n Stokoe wes ‘yi capa to change the sex of the fir “eosin mato 2 wera poking fun tess sianage rite nerves artist Hea Buntleg rests dey get prophet mesa9t ie “Evcllon of han ivertedy Fear’ These works all share an loner of suo trough camouflage. They soca wih he sare authority as sanctioned an, tering othe seca cota fr rate ‘Anata Kind fn eaten a5 ‘svar’ —the art of changing bites, sual though pray painted esas, tomake a pital sateen. Pre-dting Moho at tht ‘ape of cae ed atone become amass mover, wth agi tc as Asters ceva many forms. Thesame teingue sbeng vd by srt arts aking primarily age sed iterventons onbilbeade, etn arts Aki aio epost, ang ‘out the pars thot neest i. By ag hand avn ‘ements he rates new oer nary compositions ‘that he finds mare palatable. . SIGNS Une mt, colleen based in Pars, went further by compete replacing boards with custom-made str by ferent arts Tis poectstaried ina ‘ual angle Explosion wth vee street atts aint on paper te eae se of pucty panels and etn them none pace at Odean In ty 2002 theyhathed a big lan. Sit ‘te erga panes trom sty thee ferent painters ‘ere preparedin tesa ovr ter ment. he “aus fone nt on 28 ay they owe the 1 ‘erect of Pariwith poses. “The fllmin ear more than one hundred pa were layed allover France. Te arts cae from {arty of backgrounds and nled EI Tone ae Nurs, Ober Stak, HV, OPT, TomTom ad ats ‘by creating art in publi places, atts raw sitaton to ey spaces an eexamio areas thot ta have a artic nerest-They hale the ‘oneshinof pce by cunts and corporations. Ther tle ith th gan iain ilar, theraees jt emia under of th ty a grates ‘Seto image th absence of averting in our ‘conser oleae when te Bein Wal cane ‘dann billboards were oo the Fist sins of ‘oneumeriom to speed eastnards Graft atts hae been king 3 ety rem ways, easing sion systems een repainting roa makings ota, win god reser if its By rina esting and ubvertig ets are {rei ther ovn sn nage nJl jokes inthe ef ina is pineated images isart makes humour aio cares trom ‘onmentanthe detace between he rel andthe computerized wore Photocopier screen pte poster art isl Is note Posteed street art hasbeen wll decurented throug he 195050 Hew Yorks SoHo andthe student rerautionary posters of Paro Crea collective based in Madi who Sinaia snow eusiam andra of epermentation becomes the ati'scaling card The on. slosatur as become a groving tre in at and at he eto thshastcenthe sani hits Plctearams, symbols and ior These of conaraphy is stone asect of the wok gat is section andits artists wold at fie hensive soley tru hs ‘of yl they have ben craton some theJOYSTICK Ih nope’ & fiJovSTICKERS A 6 8 5 ® B ee PerdxXe ss mOSrig=INFLUENZA zTHE ART OF URBAN WARFAREBETAMAXXX 32 FAA> =) Ss = ui = S a zPIXEL PHIL ZB arkEL CARTEL EL CARTEL oes ae a aewith he eacion caus by ind to experiment io ra le tac: AUTHORISED GRAFFITI AREAMaking your mark isthe essence of raft clture \Weting yur nam or tag on walls ras oF any _aallatesurtacg, is where tall began and continues twcvte. Graft angers ate late 19605 bezan wrt styled names in hel Hew York and Phiadbla neighbournoes, sparking off an unstoppable can. These tas ware used to mark out tenvtecester by gangs or by Ital ooking for recognition trometer tudinal arstsor ‘tag sa smal advertisement for an artist — ago forthe eo. To achieve greater street fame, tists aed ye cateing dees tothe eer- evoling let forms, such stars crn an ‘uctaton mars. n order to standout rom the ron age became more aborts, eventually voli ita bubble tering a fly ito the larger grat praducins, known as pices verti, tags became more abou personal style ad ess about ei Gat wrtershad Aeveloed high Sophisticate eve of urban caligray whes auaance ary ea frm tin itsown ark. By the end ofthe 1960s same raft tists fl that tags ad yes of writing had become too standardized and started looking for new insiratio. Faces, charters and abstract shapes began to leap out fam theses spray-altas atts changed ther signatures te mere iar laps. ‘Asrepresented inthe previous chapter raft has ben conerting to more graphic approaches as ass try to express new eas toa wider ace by sng cons and ater visual devies An icon dees anidea bt Ian also be usedas ogo. The ony ference the arts’ intetion.A loge sa unique symbol or dein tat represent company or person. Ian artis creates and repeatsan mage asa signature ‘mark often enough = itcaudbe he mbar 6, lant oughnst orakand~ it becomes ato 0990 tthe start ofthe 1990 there were jst a few retical fae, but tay aur of pictoaras, asrat shapes and mysteries characters has soread across or streets creating anew raft cose These ew ns are scay- sand ran stencil, ested andstickerod wth visa aesthetis usgve teach artis. From comic books tf art each art bring io aro infvnces othe Uni tags thse naw igo an conic images 4 not follow syle eemnts hat have goe before, Instead they adopt a what hasn't heen doe before? tus going beyond what we acogi as rat ‘ts sigs an logos don't hast perform a amma funeien ana can este ns of branding by changing and adapting ter sigs with cach renin, Atering our log each tie can be 3 ‘tus Een an ria re vt tom Mis has an change in each wor. Tee ss respectively tring fork’and2ey'—are made up cot hand-painted cubist res that tit and turin ‘elton tothe undoing surfaces bt sil esible ‘be crigialsape The ieaistha the work is shy hin and ened andthe observer's eieyent can cme ram unraveling the code For some ass creating brand presents an cppartunity for rogue eas that paredy cevertsemerts, Basen Los Angeles the enone artist Shepard Fairey sed he likely nage ofa resi ale nde the Gant 6 create an atematie brand traugh street actos. Like Ba ioe, rome Hah Lest Sar Sey NT, Min, Paha Oi Star ~ LOGOS Brother in George Orwels 2985 he ot stares ont atthe public, aecomparied bythe word Obey’ The ressage can be seen as at-sacal cartel o ant= advertising. roca vet ahuge cl alow, the Obey campaign antag becane a lal brad sel ch, ners of eonrling te ple arena, eas atria. ‘Theartists representa tis chapter ter nat ‘oe cuertypottical, although the pots at {reedom operate 3 their mages 2e rely vewed in emmpettion wth advertising ania soe cases they jack itboard spaces. They hav aporopriates cectain aspects of branding, such a ea andgobal ‘campaigns ad he wea epettious apa, to et ‘heroes cress ut thay are more ike artists? ‘abel nan grat super brands more human ‘nd gerne than commercially. Thay ae nat tragpeby thei cn bran tat ey mst repeat ‘intr These artists art res toegin new camigns when rspiation ties and as viewers eagerly aa their new pices. Prose ay adctiing has use epetion to reat some of te mes ponerul and globally recognizable ambos cha the ealurs of Coes Cola adhe sco of Nike. In Cubs, wher very te ara tthe Mike ano i dram by de sean emied smo of Western cantare, ‘whereas in th caitalistworld he current atmosphere af corporat serfranciseent eas to emmerca logos being ratte ove r barked ut As commercial logslos ther sine and cities stort to lok the sane, afl see sans and ios became a symbol fIndiduly fulfling man's sie woe to leave a race onthe world %WP TILILLA IYSPACE INVADER >= = S 2 = = = aSICKBOY= = xSAM BERN AY)EL TONO & NURIA ‘Oo &—large-scale images of ambivalent ooking whan pated orongastirs tne character obsered rom the ogoten and dejected mages canbe one-off 0 denizens of tec, Hichracers were no ust in ets orb tenure of use he wal Tetris at style vary wily rom heFIGURESaly wring jst nee, Ato ‘nan the est 1989 Ane ivan Monti but twas drawing that everyone, ya ad ‘0, cold understand and enjoy. nana ay thie was a completly now apres oat. AlthoughADAM NEATE seTHE LONDON POLICEROBOT INC. ¢ @)106OLIVIERWILD THINGSFREE-FORMS =:sroup dyna, Eres fam Mala fins out that Since ter temporary. days Ine itean be gone.an ugraboale, independent, Calletves ike Ein tan Clan, and te ONG: Crew ring inlaments of Out constectvsn the Mtan clan prodiceexplasions of arton chats and draw on the fe and app arts for these ucorentonal pati crews ides in Europe ring the 1960s nd the early artit target eons. Tey He thnk att ‘runs are feu sere the aa, breaking ree ‘rom the nora proach oat. nea of conforming theo formu the wale ar fre ho are preucing round breaking wor afew re spits, such as Smoen whe ae aking aft atin new sections Ia the organized anarchy of new collective work and the random of rai an street art mSOL CREWSWOONWET SHAME og,120lila ila a DON'T COPY ME PUNT cory met!LOOKING FURTHER WEBSITES"4 X ‘Tstan Manco isa graphic designer and partner of Tivana Desin, based in Bristol, UK. He isthe author of Stencil Graft the bestseling gue to stencil graffiti wortdwide Other titles of interest Stencil Graffiti Tristan Manco With 405 illustrations, 400 in colour aN Spraycan Art Henry Chalfant and James Pigott with 224 colour lustrations Street Graphics New York Barry Dawson A With 208 colour illustrations f—\ Street Graphics Tokyo Barry Dawson With 151 colour ilustations y Mee. 7 ca If you would lke to receive details fof our new and forthcoming titles, peace send your name ard address to ‘Thames Hudson 1614 High Holborn London WoLv 70x wv thamesandhudson.com Printed in Hong Kong